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concert represents Wisdom, as the owl, which is the animal representing this quality, is sometimes depicted as the conductor of the bird concerts. A further interpretation is that the concert of birds symbolically alludes to harmony and natural regulation, in the sense of balance with nature. These concepts are embodied in the systematization of the birds' song. So, more generally, the concert of birds imagery refers to the political harmony and social order enjoyed by the owners of these paintings during the time the
Southern Netherlands were governed by the Archdukes of Austria
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525:). Painted around 1613–1617/1618, this small-scale work showed that Snyders' manner was not only well suited to Rubens' large pieces, but also adaptable to his smaller-scale works. Rubens relied on Snyders to create the visual richness that went hand in hand with his Baroque style, which stressed abundance and bounteousness. The two artists' brushwork was so close that contemporaries had difficulty distinguishing their contributions in collaborative works.
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close collaborative relationship with Rubens between 1610 and 1640. Their collaborative efforts are well documented. In the early period of their collaboration, Rubens would paint an oil sketch of the complete composition and mark out clearly where
Snyders would have to put his contribution. This has been documented for the painting
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expression of the animals. Other art historians regard the hunting scenes of de Vos as more dynamic and evidencing a more personal style when compared with those of
Snyders, who was more a still life painter. The expressive style and motifs of Rubens' animal paintings had an important influence on both Snyders and de Vos.
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in the chapel. Snyders is said to have had a special relationship with the
Franciscan order and he wanted to be buried in the Franciscan habit. In addition to this religious connotation, the concert of birds is also regarded as an allegory of the sense of hearing. Other interpretations are that the
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His pupil and brother-in-law Paul de Vos was also a regular collaborator with Rubens. One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Frans
Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological
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While the monkey had since the Middle Ages symbolized the sinner - a greedy, lecherous creature, driven by its senses only – during the 16th and 17th centuries it became the symbol of stupidity. Through their uncontrolled grabbing and consuming of food the monkeys show their barbaric nature which is
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Collaborations with Rubens were particularly frequent. Snyders' expressiveness and ability to render different textures of furs and skins excited the admiration of Rubens. Rubens frequently employed him to paint animals, fruit and still life in his own pictures. Snyders developed a particularly
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The large and abundant still lifes of
Snyders have been interpreted in many ways. Some read a propagandistic message into these paintings. The display of the luxurious abundance available in Antwerp which was at the time under Spanish administration possibly served the propagandistic purpose of
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pictures by Frans
Snyders in the Prado Museum shows an owl on a branch. The owl conducts the other 15 species of birds shown in the composition while it holds a musical score between its legs. As in many of Snyders' compositions, the larger birds are placed near the border and protect the smaller
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He not only created many large market and pantry scenes and game still lifes, usually including dead deer, he also painted smaller works which were reminiscent of the breakfast pieces and still lifes that originated in northern art around 1600. Rather than continue the descriptive manner of the
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Snyders typically depicted game in the stage before it is prepared as food. These dead animals therefore resemble hunting trophies, which were often not even intended as food but rather for stuffing. Snyders often included live animals such as cats to create a contrast between the animate and
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idiom. His style gradually matured as a result of his exposure to
Italian art during his trip to Italy and the work of Rubens after his return to Antwerp. As a result the dark surroundings of his early still lifes disappeared after 1614 and he became a fine colourist with strong compositional
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paintings: the fruit in these still lifes is appetizing yet bound to perish. The fruit thus symbolizes the brevity and futility of life. The compositions can further be regarded as illustrations of the risk of poor household management which is driven solely by the satisfaction of the senses.
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Snyders was the first artist to concentrate on incidents exclusively featuring animals in everyday environments. In these creations animals such as dogs, cats and monkeys were the sole protagonists. The scenes included fights between animals, hunts by animals, scenes from fables and symbolic
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and to the devotion to Our Lady of the Birds. According to legend, in the 13th century a flock of birds had been observed gathering near a grove of beech trees outside
Brussels. They had been attracted to that location by an image of the Virgin clamped between the branches of the trees. A
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Snyders is believed to have been a skilled figure painter in his own right as is evidenced by Jan
Breughel the Elder's request that he make a copy after a Titian portrait in the Borromeo collection during his stay in Milan. Even so he still often collaborated with figure artists such as
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Sny initially devoted himself to painting flowers, fruit and still lifes. Later he turned to painting animals. He was particularly interested in depicting wild animals, which he showed engaged in lively hunts and fierce combats. He was one of the earliest specialist
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and he is credited with initiating a wide variety of new still-life and animal subjects in Antwerp. His hunting scenes and still lifes engage the viewer with their dramatic and dynamic effects. He was a regular collaborator with leading Antwerp painters such as
418:, Snyders' innovative still lifes combined objects in groups to form a geometrically structured composition. Recurring motifs were dead hares and birds, tazze (shallow dishes on a tall foot), baskets with grapes and other fruit, enamelled pitchers and Chinese
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claimed that he was a pupil of Frans Snyders but there are no written sources available in Antwerp that support this contention. However, there are stylistic similarities in van Boucle's works which suggest that he worked in the circle of Frans Snyders.
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who had pioneered and developed the genre in 16th century Antwerp. Whereas Aertsen and Beuckelaer often included a religious scene in the background of their market pieces, Snyders dispensed with this. Initially he worked in a
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in the 16th century but reconstructed at the end of the century. A particular feature of the chapel were the bird cages that were suspended from the ceiling. The birds in the cages contributed their song to the
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in Madrid. Snyders painted about 60 hunting paintings and animal pieces after designs by Rubens. In 1639 Rubens and Snyders received a follow-up commission for an additional 18 paintings for the hunting pavilion.
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squandered his fortune in the inn of his father. Snyders' mother was Maria Gijsbrechts. Snyders had five siblings. His brother Michiel also became a painter but no works of him are known.
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etc.). Snyders was commercially successful and was able to purchase a house on the high-end Keizerstraat in Antwerp. In 1628 he became the dean of the Guild of Saint Luke.
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pillaging baskets of fruit and toppling dishes in pantries or in an outdoor setting. The monkeys are painted with naturalism, neither idealizing nor caricaturing them.
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in the Borromeo collection. This is regarded as evidence that Snyders was a skilled figure painter before he turned his attention to still life painting.
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acquired his extensive art collection which included works of leading 16th and 17th century Flemish and Dutch artists such as Rubens, Anthony van Dyck,
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While in the Baroque tradition many of his compositions are complex and dynamic some are more focused and quiet. An example of the latter is the
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In the period 1636-1638, he was one of the Antwerp artists who assisted Rubens in a large commission for decorations for the hunting pavilion
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showing the superiority of Spanish rule over Flanders when compared with Protestant control over the rebellious Northern Netherlands.
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Snyders had many patrons including the Ghent Bishop Antonius Triest who commissioned four paintings of market scenes around 1615 (
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driven solely by animal instinct and desire. The Louvre compositions with capuchin monkeys can also be interpreted as a form of
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337:. His work as an animal painter was very influential on his contemporaries as well as on 18th-century French animaliers such as
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as the son of Jan Snijders, the keeper of a wine inn frequented by artists. According to legend the famous 16th-century painter
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His residence in Italy is believed to have had an important influence on his style of fruit painting. He is likely to have seen
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and other artists. Frans Snyders collaborated with his second brother-in-law Cornelis de Vos. An example is the
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is considered the first Baroque still life with figures. A famous collaboration between Rubens and Snyders is the
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Frans Snyders, The noble estate. Seventeenth-century still-life and animal painting in the southern Netherlands
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Hella Robels. "Snyders, Frans." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 20 July 2015
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After Peter Paul Rubens' death Snyders acted as one of the appraisers of the inventory of Rubens' collection.
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and Jacobus Victors reworked the subject by making it more courtly; and in France the Flemish expatriates
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How looked the Gorgon then . . . The Science and Poetics of 'The Head of Medusa' by Rubens and Snyders
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chapel dedicated to the Virgin was then built. It was destroyed during the iconoclastic fury of the
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Snyders had returned to Antwerp in the spring of 1609. In 1611 he married Margaretha, the sister of
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the process was reversed and Snyders made a sketch leaving the space for the figure by Rubens.
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in 1608-9 where he first resided in Rome. The artist subsequently traveled from Rome to Milan.
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He painted many market scenes and his earliest work in this area was inspired by the work of
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inanimate elements. Snyders' large game pieces were very influential and the Dutch painter
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Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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birds in the middle. Some exotic species alien to European are included such as the
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Arnout Balis, Rubens' hunting scenes, Part 18, Harvey Miller, 5 Mar 1987, pp. 70–87
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His compositions with monkeys wreaking havock became very popular. The
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Still life with fruit, dead game, vegetables, a monkey, squirrel and cat
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collection holds four such monkey-themed paintings. Three of them show
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The artist signed documents with 'Franchoijs Snijders'
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949:at the Netherlands Institute for Art History
378:in Cardinal Borremeo's collection in Milan.
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887:Rubens & Brueghel: A Working Friendship
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1225:1657 deaths
1220:1579 births
1210:Dog artists
760:10 November
663:Pieter Boel
635:Paul de Vos
604:Middle Ages
489:Jan Wildens
416:Osias Beert
306:Paul de Vos
273:Frans Ykens
253:Jan Lievens
166:Paul de Vos
70:still lifes
1179:Categories
1151:9061533430
977:Still Life
815:(in Dutch)
728:References
649:, his son
613:Franciscan
370:Caravaggio
334:animaliers
261:Jan Massys
74:animaliers
564:Animalier
397:Mannerist
1064:Archived
1008:Archived
916:Archived
302:Jan Roos
934:at the
721:vanitas
639:Jan Fyt
622:liturgy
352:The Ray
326:General
310:Jan Fyt
229:beguine
103:Antwerp
66:animals
62:painter
59:Flemish
55:Antwerp
1149:
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699:Louvre
627:Albert
600:Aeolus
533:Medusa
523:Vienna
514:Medusa
469:Rubens
271:, and
185:Kassel
155:Titian
883:et al
140:Italy
39:, by
1147:ISBN
891:ISBN
762:2018
641:and
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321:Work
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97:Life
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